International plot consultant, author of the Plot Whisperer books for writers and founder of PlotWriMo, I help transform stories. As Secrets of Personal Transformation visionary, I help transform lives.

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29 January 2009

1) Draw a bubble in the middle of a piece of paper. Write the protagonist's deepest held belief, the one that prevents her from having that which she wants more than anything else in the world. Or do this exercise on yourself to determine what's blocking you -- I'm not good enough, I'm not smart enough, I don't do enough -- pick one, create one, we've all got them.

I get to not only sit in the crow's nest and analyze the plot and structure of the story, from that vantage point I often also see a higher archetypal pattern emerge.

For instance, in a character-driven memoir about strong political and historical and religious themes, the protagonist (the writer) is betrayed as a kid by her father. Later she falls in love with four men. She is betrayed by all four of them.

A bigger picture unfolds... Or, is it only my imagination?

Are there other ways to tell this story? You bet ya.

How much of that which comes intuitively throughout the plot consultation do I divulge? Like a palm reader, say everything and let the writer decide?

15 January 2009

Draft one, writers attempt to create a story with a Beginning, Middle, and End, filled with Dramatic Action that affects the characters in meaningful and coherent ways -- a firm foundation.

Subsequent drafts, writers create more layers, each of which benefits from the use of authentic details. Authentic details "show" who the characters truly are by the objects they surround themselves with and how their actions support their dialog, and allow the reader to sink into the exotic, unusual story world.

For example: Einstein's Dreams by Alan Lightman -- "... In some distant arcade, a clock tower calls out six times and then stops. The young man slumps at his desk. He has come to the office at dawn, after another upheaval. His hair is uncombed and his trousers are too long. In his hand he holds twenty crumpled pages, his new theory of time, which he will mail today to the German journal of physics..."

Authentic details make the story unique, come alive, pulse with meaning.

12 January 2009

Today's consultation challenged conventional point of view and arrangement. Most stories revolve around a protagonist who is changed at depth over time by the dramatic action that happens to her. The story is arranged into chapters and told through either:

First person present -- I revel in the balmy ocean breeze

First person past -- I reveled in the balmy breeze

Third person present -- she revels in the balmy ocean breeze

Third person past -- she reveled in the balmy ocean breeze

Today's consultation revealed a story more about the transformation of a culture which is changed over time by the dramatic action that happens to the characters who live in the culture than to one particular character.

Some of the most difficult aspects of writing a story, be it a screenplay, novel, or short story, are deciding where the story begins, who's tells the story -- POV, and how best to arrange the overall flow the story.

We seem to gravitate toward a favorite way of telling a story. First person allows the writer and thus, reader closer access to the character. Third person allows the writer and thus, reader less intimate access to the protagonist from her point of view but more access to information beyond the character herself.

11 January 2009

I'm personally excited about an upcoming plot consultation with a well-respected veteran writer and photographer of some 50 years for most of the top news agencies and magazines in the country and the world.

From the early info I require about the character (for a memoir writer that is the writer himself) and theme, I sense this writer is interested in using his action-packed background of intrigue and danger to illuminate his flaws and fears and thus give meaning and significance to his life.

Memoir writing at its best shares the writer's past with the reader in order to entertain, enlighten, motivate, and/or make sense of life itself.

08 January 2009

He finishes the first draft with a vengeance. His vision of a complex story crystalizes. The characters reveal themselves. The story world captivates. Action builds to a dramatic climax. Character grow and transform. Thematic threads run deep throughout the manuscript.

Celebration over his accomplishment is short-lived and little acknowledged in his eagerness to keep going.

He rounds up his notes and begins crafting and writing draft #2 and immediately comes to a screeching halt.

06 January 2009

"This is one of my biggest struggles. I have faith in myself and my story, but I have a hard time finding the energy to actually write. Any tips on dealing with this?"

The comment came anonymously, so my answer won't appear personal.

Your lack energy for your writing is like a character who resists the call to adventure. Resistance generally comes from one or more of the following character profile traits (each of which has the potential to create dramatic action):

fear

flaw

prejudice

At least that's what happens in stories -- it's the character herself who gets in her own way -- the Character Emotional Development plot line.

Based on that assumption, following is a tip for finding the energy to write:

1) Make a reminder sign -- a post-it note on the mirror, a ribbon hanging from the lamp shade, something to remind you of this tip.

2) As you brush your teeth or otherwise prepare for bed, meditate on your resistance.

3) With your head on the pillow, make a goal for yourself for the next day. Imagine yourself taking action, step-by-step toward your goal. Anticipate possible antagonists -- your own resistance included. See yourself in your mind's eye replacing the story you have been telling yourself that is causing your resistance with something different.

This is your life. You are in charge. You may not want to be. That's fine. Feel the resistance.

Now, tell yourself a different story, one that draws you to the successful completion of your goal.

There's no hurry. Either way, the day will come and the night will go. The only thing that changes is your attitude and your action. Think of it less a journey and more a process -- the process of being a writer...

02 January 2009

The final plot phone consultation of '08 illustrated to me how thirsty we writers are for support and someone to believe in us.

A writer with an incredible gift for dialog and in collaboration with an accomplished illustrator is creating a graphic surfer girl novel for middle grade. The plot rocks, the protagonist feisty, the setting unique, the father-daughter issues universal, the theme significant. The problem? Somehow along the way the writer lost energy for the story.

The longer we chatted and the more praise I expressed, the more enthusiastic he became about his project. By the end -- it took us two, two-hour sessions to work our way all the way through the story, he was pumped and ready to devote the time and attention needed for the next and, dare I say it, final draft before beginning the submission process.

As thrilled and honored as I was to work with him on this worthy project, when I hung up from our call, I was also a little sad. I wondered about all the writers out there who may not be able to afford a service like I provide and are without someone to encourage and support them. I despair over the gifts out there half-started and never to be finished. A dream that never has a chance to manifest because of self-doubt, little faith and thus, the inability to put forth the effort needed to finish.

It's all a journey. And, the writer's journey is as filled with conflict, tension, and suspense, crises, and obstacles as any compelling story. It's our path to take and up to us to find what we need to make it to our own climax.

Any tips and tricks to offer other writers about how to restore faith when doubt stills all your writing efforts?

(The phrase: Great doubt. Great Faith. Great Effort. -- comes from The Little Zen Companion and are the Three Qualities Necessary for Training.)

Links

How Do I Plot a Novel, Memoir, Screenplay?

Plot Whisperer

Plot Whisperer offers plot tips for writers and bloggers eager to create compelling novels, screenplays, memoirs and blog posts with the reader in mind. All writers struggle with what to put in and what to leave out of their works in progress, how to hold a reader's attention and earn their loyalty, and how to create depth and meaning in their writing for the greatest good.

"To Martha Alderson, whom I've never met, but whose books and DVDs about plot were invaluable. Thank you for all you taught me!"" Nancy Cavanaugh author of This Journal Belongs to Ratchet

"Thanks Martha! You made Nardi Point possible." Nancy LaPonzina author of Nardi Point

"I got some stimulating new ideas from you as well as much needed validation. Thank you. Thank you." Nnegest Likke writer/director of Phat Girlz

"Martha is a plot genius. She takes on my work as if it were hers, but with the perspective of an outsider, allowing me to pin-point problems I might never notice. She is fabulous to work with!" Kathleen Shoop, author of After the Fog and The Last Letter

"The project you helped me with, Talhotblond, aired on MSNBC and was purchased by a major studio for distribution. I walked away from your seminar not only more confident, and with a great roadmap, but with a burst of creativity that I haven't felt in a long time. Martha Alderson's advice really is like a secret weapon." Barbara Schroeder, writer/director of Talhotblond

"I followed your plot planner advice for all three books and I can't even tell you how much it helped me. Before I found your method I was lost but once I started following it -- everything fell in place. Anyway -- I just wanted to touch base with you and say thanks." J. Anne Huss, author of Clutch, Fledge, Flight

"I am so happy to tell you that I have sold my first screenplay to a producer wanting to make the movie and keep me on as a writer/producer for the script SCUBA. Your instruction on structure and plot really made the difference. Thanks for giving me the tools I needed to succeed in this industry." Shawn, screenwriter

"I wish I could wrap you in the galaxy of gratitude and whirl you into the pure joy of nature! You are so generous with your time, insight, expertise, wisdom, and kindness. I am a bit overwhelmed but truly excited to get to work. Thank you." Luisa Adams, author of Woven of Water.

"Martha's gentle questions about motivations and theme led me deeper into my story. Looking for clues in the characters led to intersections with other characters, plot complications and best of all, conflict. Martha's keen insights about the structure of plot helped me better understand the story I was telling and gave the tools I needed to write it, in a new and exciting way." Terri Thayer, author of Wild Goose Chase and Stamped Out

"I learned so much it is like someone opened my brain and poured in a whole new way to write. My consultation with you was invaluable. It was not only what you taught me about plot: your encouragement and enthusiasm gave me confidence. You are a genuine and generous human being, and that is the real gift." Mary Cronk Farrel, author of Fire in the Hole and Daughters of the Dust

Martha is as knowledgeable and passionate about storytelling and "plotting" plot as anyone I have ever met. Her books, templates and workshops break it down and get the light bulbs going! A writer at any level will learn something." Jennifer Solow, author of The Booster

"Taking your class several years ago was integral in improving my craft as a writer and I want to make sure you know that this has been an important part of the success I've finally attained. My agent got me a two-book deal with St. Martin's Press! It's so exciting as it's hard to believe this is finally happening." Wendy Tokunaga, author of Midori by Moonlight & Love in Translation

"Martha Alderson, the 'Plotting Queen' introduced me to the front story/back story concept while I was weaving LOVE MADE OF HEART. This extraordinary teacher came through again, with her book! Just in time for me to finish weaving another novel!" Teresa LeYung Ryan , author and community member who encourages everyone to step into their dreams.

"Hey, regarding your book - someone sent me a copy of Chris Baty's (the creator of NaNoWritMo) book NO PLOT, NO PROBLEM. It's merely musings compared to your Bible. It would be nice, though, since 90,000 people signed up for NaNoWriMo (National Novel Writing Month) this year, if your book had a tie-in somehow, like maybe on Amazon's 'If you like this book, then you'll LOVE Blockbuster Plots'. Just a thought, Martha!" Mary Eastham, author of The Shadow of a Dog I Can't Forget

"I cannot stress how Martha's emphasis on the external aspect of plot drove home to me the inherent necessity for a clear plot if the story is not only to hang together and make sense, but have meaning, too." Anjuelle Floyd, author of Keeper of Secrets

"It would save a lot of people a lot of time if they did this from the start. The Plot Planner is a good tool for taking something that is huge and unwieldy (a novel) and making it something that can be understood at a glance." Jim Averbeck, author of In a Blue Room

This book will change the way you approach writing! Martha Alderson's Scene Trackerand Plot Planner tools have helped hundreds of workshop and conference attendees hone their skills, and now you can learn how to take the fear out of plotting even if you can't attend one of her workshops. If you only buy one writing book this year, buy Blockbuster Plots! Melanie Rigney, former Writers Digest magazine editor

"How is that fabulous Block Buster Plot program going? If I get the chance to do another book, you will see me at the front of your class. Without your help plotting my book, Taking Aim at the President, I would not be published today." Geri Spieler, author of Taking Aim at the President

Writing's not easy. One of the hardest things to do well is write great plots. And because reading superbly plotted books isn't always enough to boost one's skills, Los Gatos author Martha Alderson offers a slew of ways to get your plot-lines flowing again. In addition to being the author of "Blockbuster Plots: Pure & Simple" Alderson also offers one-on-one plot consultations. You can contact her -- and keep up on local literary events, meetings, conferences, contests and retreats -- at her Web site. Santa Cruz Sentinel

Don't have problems plotting? Think a book on characterization, theme, editing or synopsis might help your writing more? Do yourself a favor and don't dismiss Blockbuster Plots: Pure & Simple on the merits of title alone.

True--the majority of the book focuses on plot, how to go about discovering the one hiding in your story and strengthening crucial details to help it become, well, the blockbuster plot you envision. But throughout the book, Alderson provides more than plotting activities--she also gives lots of insightful writing advice that help you think of ways to improve your story in different, dynamic ways.

If plots aren't your cup of tea, or maybe if they are but you're willing to look at another interpretation of how to get more mileage from them for your story, Blockbuster Plots is an excellent place to start. BOOK REVIEW by Beth Morrow

Confused about the basics of building a plot in a story? Martha Alderson's focus on how to produce a superior one applies to novels, memoirs and nonfiction alike, using scenes by contemporary writers from Twain to London to show how to create logical and substantial plots. Visual representation of scenes is the focus of a step-by-step workbook packed with tips on everything from character development and depth of story line to action and theme clarification. Any writer seeking to produce not just acceptable but superior works must have this guide. Midwest Book Review